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Prolific Moment: Theory and Practice of Mindfulness for Writing
foregrounds the present in all activities of composing, offering a
new perspective on the rhetorical situation and the writing
process. A focus on the present casts light on standard writing
components-audience, invention, and revision-while bringing forth
often overlooked nuances of the writing experience-intrapersonal
rhetoric, the preverbal, and preconception. This pedagogy of
mindful writing can alleviate the suffering of writing blocks that
comes from mindless, future-oriented rhetorics. Much is lost with a
misplaced present moment because students forfeit rewarding writing
experiences for stress, frustration, boredom, fear, and
shortchanged invention. Writing becomes a very different experience
if students think of it more consistently as part of a discrete
now. Peary examines mindfulness as a metacognitive practice and
turns to foundational Buddhist concepts of no-self, emptiness,
impermanence, and detachment for methods for observing the moment
in the writing classroom. This volume is a fantastic resource for
future and current instructors and scholars of composition,
rhetoric, and writing studies.
Prolific Moment: Theory and Practice of Mindfulness for Writing
foregrounds the present in all activities of composing, offering a
new perspective on the rhetorical situation and the writing
process. A focus on the present casts light on standard writing
components-audience, invention, and revision-while bringing forth
often overlooked nuances of the writing experience-intrapersonal
rhetoric, the preverbal, and preconception. This pedagogy of
mindful writing can alleviate the suffering of writing blocks that
comes from mindless, future-oriented rhetorics. Much is lost with a
misplaced present moment because students forfeit rewarding writing
experiences for stress, frustration, boredom, fear, and
shortchanged invention. Writing becomes a very different experience
if students think of it more consistently as part of a discrete
now. Peary examines mindfulness as a metacognitive practice and
turns to foundational Buddhist concepts of no-self, emptiness,
impermanence, and detachment for methods for observing the moment
in the writing classroom. This volume is a fantastic resource for
future and current instructors and scholars of composition,
rhetoric, and writing studies.
The creative writing workshop: beloved by some, dreaded by others,
and ubiqui tous in writing programs across the na tion. For
decades, the workshop has been entrenched as the primary pedagogy
of creative writing. In Creative Writing Pedagogies for the
Twenty-First Cen tury, editors Alexandria Peary and Tom C. Hunley
gather together contributing experts from both creative writing and
composition studies-a discipline rich with a wide range of
established peda gogies- to offer innovative alternatives to the
traditional creative writing work shop. Contributors in this volume
pres ent fresh and inventive methods for the teaching of creative
writing. Each chapter offers both a theoretical and a historical
background for its respective pedagogi cal ideas, as well as
practical applications for use in the classroom. This myriad of
methods can be used either to supple ment the customary workshop
model or as stand-alone roadmaps to engage and reinvigorate the
creative process for both students and teachers alike.
"My poems are often dreams; my dreams are poems," Alexandria Peary
tells us in her marvelous first book. These poems describe a world
resembling out own, beneath which she finds endless off-kilter
surprise and beauty. "Outside," she writes in one in one startling
moment, "the driftwood struggled like arms & legs" and, later,
a recorded voice "looks just like a piece of tinfoil lying in the
sun / in which you could go swimming." I've long admired Alexandria
Peary's intelligence, her evocative skills, and her gift for
discovering in the everyday such dreamlike, frequently frightening,
moments.
In Control Bird Alt Delete, the reader is invited to explore
strange landscapes: some based on the ruins of New England and
others following the architectural prints of the unconscious. The
reader walks through woods filled with cellar holes, rock walls,
and lilac bushes, and is made to think of people gone missing.
Robert Frost meets Times Square. Nature intrudes in unexpected ways
on domestic settings - and vice versa - domestic and industrial
settings appear in bits inside the pastoral. Birds, one-dimensional
but strangely wise, flit back and forth and rebelliously tape up
their songs. The senses are thoroughly blended, leading to strange
combinations and sensory experiences, to states of mindfulness and
blizzard distraction. All the while, the unconscious threatens to
intrude, with its underlined places, its trap doors inside ordinary
conversations, the mazes it hangs up like "welcome home" banners
next to people's mouths while they speak. The reader follows the
first-person I through mazes, office spaces, and coils of highway
traffic, hoping for some redemption, some sort of answer to all the
deletion.
Poetry. In LID TO THE SHADOW, Alexandria Peary writes about spring,
referencing classical Eastern imagery of blossoming cherry trees to
talk about childbirth, female desire, motherhood, and absence of
memory. This book thrives through its artful use of imagery and
voice as well as its beautiful meta-moments and allusions. Peary
draws attention to the presence of the poem itself, as though the
poem were a moment of space and time. She drags words and symbols
out of the flow of the text and makes them three-dimensional. In
LID TO THE SHADOW, shadows represent the presence of the past, and
meta language becomes the presence of the now.
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